Essential Questions

1. What is the relationship between education and power?

2. What hypothesis can be developed about slavery through the analysis of characters in literature that is thematically based on slavery and the race of the author writing the text?

3. What can I learn from this text and the writer of this text about how to express myself?

4. How can exposure to different literary genres and forms based on the same theme influence your personal perspective and analysis of literary aspects such as theme and character?

5. How does background information about the author of a literary work help the readers understanding of a literary text?

6. How can the various components of language (such as diction and word choice) in literature help readers draw conclusions about the characters of the work?

7. How does literature demonstrate new understandings of societal institutions such as slavery across time?

Enduring Understandings
1. Education builds self-esteem and plays a key role in the development of self.

2. The literary techniques used to express and explore the multiple perspectives of a heros characteristics including resilience, resourcefulness, spiritual freedom, and self-actualization.

3. Writing about an experience helps alter it from what may be a seemingly life shattering event to a more purposeful memory that can be explored in the context of other events and integrated with other experiences to be understood in a different way.

4. Different stylistics and characteristics of literature help readers form better analysis of character and delve deep into character development processes while developing a thorough insight of the overall theme being studied.

5. Having prior knowledge about the authors background helps readers to better understand the writers intended goal of the text and how the authors work is constructed.

6. Language is one of the key literary elements authors use to make a statement about a character or help the reader make connections to a bigger idea.

7. The cultural or historical significance of society and its institutions vary throughout time periods and the changing perspectives in literatures that share the same common theme reflect this over the course of time.

Learning Objectives

1. Students will be able to engage in a deeper understanding of the history of slavery 2. Students will be able to understand the personal connection between the author and the authors work. 3. Students will be able to successfully work collaboratively on various discussions and assignments. 4. Students will be able to make some form of a personal development through different forms of self-expressive writing.

5. Students will become familiar with the concept of apostrophe. 6. Students will be introduced to historical fiction and understand how fiction can allow personal insight into actual history. 7. Students will be able to understand how racial barriers can impact the development of an individuals identity. 8. Students will be able to develop skills to demonstrate a genuine and comprehensive understanding of a text through close reading of the text. 9. Students will be able to learn how to use setting and themes of a text to analyze characters and interpret literature. 10.Students will be able to understand the role of language in slave narratives and understand how it affects the readers perspective of the work. 11.Students will be able to explore narration through different points of view. 12.Students will be able to identify the characteristics of a narrative and a slave narrative.

List Of Materials:
Week One:

Biography of Thylias Moss Interview of Thylias Moss (3pgs.) Slave Moth by Thylias Moss (152 pgs.) Copies of Forward Illustration by Jacob Laurence Excerpts of Oroonoko by Aphra Behn (pgs. Unknown) Biography of Aphra Behn (3pgs.) The Autobiography of Henry Parker (8 pgs.) Letters of Ignatius Sancho by Ignatius Sancho (8pgs.) The History of Mary Prince Introduction (selected excerpts) and Preface (8pgs.) K-W-L Chart
Week Two:

Slave Moth by Thylias Moss (152 pgs.) Independent Weekly Article about William Henry Singleton William Henry Singleton Narrative Mary Norcott Bryan Narrative Brief biography of Mary Norcott Bryan An Introduction To The Slave Narrative by William L. Andrews (3pgs.)

Week Three:

Excerpts from The Tempest by William Shakespeare (pgs. Unknown) Film Version of The Tempest Cesaire, Aimes: Une Tempete. D aprs la Tempete de Shakespeare: Translated Version (69 pgs.) Csaire and Shakespeare: Two Tempests Author(s) by A. James Arnold Biography of Aime Cesaire Biography of William Shakespeare Props and other materials for Performance Day K-W-L Chart

Introduction:
I chose to create a unit on the various portrayals of slaves and the effects of the institution on slavery through various forms of literature because I thought it was an effective way for students to be exposed to various forms of literature, understand the history and emotions of slavery and gain a new perspective on it, experience writing different forms of literature, enhance their character analysis skills, understand how to express themselves through writing, and develop the skills

necessary to perform a close reading of the texts. I chose to teach this unit to a 11th grade Advanced Placement English class because it is an exhaustingly intensive unit that requires an abundance of reading, remarkable time management skills and prior knowledge that lower level students may not have fully grasped at this stage in their academic careers. Another reason I chose to focus on slave narratives and other literature that gives attention to slavery is because slavery cannot be written about, read about, or discussed without thinking about identity in some way, shape, or form. Identity is an important theme in the life of an eleventhgrader because they are at the stage when they are trying to figure out what they will do with themselves once they graduate high school. A lot of youth have trouble figuring this out because they dont really know what their interest are and they have not really found their identity. Through several of the writing exercises, students will have the opportunity to express themselves and possibly discover a new talent through both academic and creative forms of writing. Many of the characteristics of the slaves presented in the chosen literature also demonstrate positive characteristics such as resilience and resourcefulness, which may inspire students to develop these characteristics if they havent already. Another prevalent theme in slave literature is the idea that education is empowering, this is also a good theme to present to eleventh graders because it may encourage those who are not interested in or unsure about pursuing a secondary education. The study of narrative is also a useful course of study for eleventh graders because this is when they are given standardized tests, which contains a narrative component. The units focus is on varying perspectives of slavery and the exploration of authors from various backgrounds to demonstrate diverse thoughts and feelings.

Students will really grow to understand the multiple ways in which writing can be a form of self-expression and they will be given the opportunity to express themselves in several of the assessments, but most importantly in the final assessment. The final assessment is for the students to take a pre-selected chapter from Slave Moth and turn the verse narrative into written dialogue and make two changes in the plot, along with an extensive analysis that is further explained in the instructional guidelines. There were many great things that could have been done with the material in this unit and it was difficult to narrow down what excerpts to use and what assessments to develop because there was an abundance of material. Initially, I was just going to use one novel, which was Slave Moth and base the whole unit solely on that one novel. However, I decided it would be much more useful and beneficial to incorporate other slavery based literatures for comparison. So the unit became focused on making discoveries through the comparing and contrasting of varied texts, perspectives, and authors, all based on the theme of slavery. The first week serves as an introduction to the idea of the slave narrative and encourages students to take what they already know about slavery and view it in a different light. This is why they start off with Slave Moth by Thylias Moss, which is a narrative in verse that can best be described as historical fiction. This book was published in 2004 by an African-American author and gives a completely unexpected view of slavery and dispels the typical slave stereotype because the main character is a literate slave whose master likes to collect rare things. Varl, the main character, knows how to read and write and her mother does as well, in fact the mother reads to the master because his wife is illiterate and cannot read. Varl does all of her writing by sewing her words onto a cotton shift underneath of her

dress. Slave Moth will give students a non-traditional approach to the original slave narrative because it is a fictional account and the author makes very interesting twists in the novel. Slave Moth will also assist students in developing their close reading skills because it is a narrative written in verse, so they have to pay very close attention to every word to follow the story .Currently, Spark notes for the novel do not exist, so they cannot just skim the material or look up the themes, they have to actually read. I am also only requiring students to read two chapters of the novel a night, so that they dont feel pressured to rush through the reading. They will be forewarned to take their time with the reading of Slave Moth because it requires attention to detail and it is not your average novel. I do not want them to be mislead by the fact that the main novel of the unit is only 152 pages long, and think that it is an easy read because it is not. To ensure that students do the reading and to build their close reading skills, there will be a required daily journal, which I will also hand out a rubric for prior to starting the unit. In this journal students are to pick a song for each chapter that they feel best describes either the theme, the tone, or that they feel would serve as an overall summation of the chapter. Each row will be assigned tone, theme, or chapter summation on different days, so that it is evenly spread out. They are to write a brief paragraph stating why they chose this song and provide a copy of the lyrics. It is required that they explore different genres of music because most likely the music they listen to will be hard to apply because Slave Moth is set in the 1800s and it is about slavery. This requirement helps tie in the theme of identity to the assignment. Students will also be reading excerpts of Oroonoko in conjunction with the reading of Slave Moth. Oroonoko is another historical fiction narrative

which also strays from the authentic slave narrative because of fictional constructs. Oroonoko is about a royal African slave who actually profits from selling his own people into slavery. The plot consists of a love triangle between all people of color, slave trade, escape, and heroism. Oroonoko is written by a White anti-slavery advocate named Aphra Behn and was published in 1688. The two novels are a nice parallel to one another and the discussions and activities done for the novels help to answer and develop Enduring Question/ Essential Understandings #1, #3, #5, and# 7. Other texts that will be used in the unit are the narrative of a slave who escaped through the Underground Railroad, named William Henry Singleton and the narrative of a wealthy slaveholder named Mary Norcott Bryan. These two texts are great for comparing and you get to examine the perspective of two opposing views of slavery and by exploring their background through interviews and biographies students will be able to clearly understand the way in which the authors social backgrounds, cultural influences, and values influenced the text. These two brief narratives serve as a nice parallel to one another and the activities and assessments for these texts help to answer and develop Enduring Questions/ Essential Understandings #1, #2, #3, #4, #5, and #6. Finally, in the last week of the unit, I will use excerpts and film clips from William Shakespeares The Tempest (if they havent already read the play in its entirety) for students to get exposure to another perspective of the slave mindset and to use for comparison against an adaptation of A Tempest that was written by a Black Caribbean, named Aime Cesaire that focuses primarily on the master slave relationship and casts Caliban as the protagonist of the play. The material of these texts addresses all of the Essential Understandings and Enduring Questions, which

is why I think these particular texts serve as an appropriate closure to the unit because the most important concepts are being drilled throughout all of the texts and each of the different groups of texts focuses on a new Essential Understanding/ Enduring Question that the prior text didnt address. The final genre of text that is explored in the unit breaks away from the textual narrative by looking at it through the form of a play. Students will answer interpreative discussion questions and examine a scholarly literary criticism comparing the two versions of The Tempest to guide their answering of the discussion questions and guide their thinking for the final project. In the final assessment students will be given groups and create a screenplay of designated chapters in Slave Moth with the requirement that there be at least two changes from the novel and the student work. Students are also to write a detailed description of why they made the changes that they made. The different groups will present their detailed description to the class and the class will vote on which group will perform their screenplay and the winning group will perform their screenplay on Production Day. On the day before we officially begin the unit, students will be provided with a packet full of supplementary readings and selected excerpts that will be used at various stages throughout the unit. They will also be assigned into groups that they will remain in for the duration of the unit. These groups will be referred to as conversation groups, the recorder of the facilitator of each group are to be chosen (the students can assign these roles) at this time. They will also be given their assignment sheet for their final project along with an assignment sheet for all other assessments at the very beginning of the unit so they can properly plan and prepare ahead of time. Students will begin reading the biography of Thylias Moss

and the interview with her, along with the biography of Aphra Behn for their homework assignment. As an introduction to the unit, I felt it would be a good idea to review the characteristics of narrative writing and introduce the characteristics of narrative writing of slaves. I provide the students with a brief, but complete autobiography of a former slave who escaped though the Underground Railroad. Then I provide them with an illustration of slaves escaping through the Underground Railroad and ask them to write a brief narrative based on the picture and their knowledge of the Underground Railroad using the characteristics of the slave narrative. The purpose of this activity is to learn about the Underground Railroad and give students background knowledge of slavery while familiarizing the students with the conventions of authentic slave narratives and becoming accustomed to transferring the expression of ideas from one form of literature to another. This activity will also help students to develop a connection between background knowledge of an author and connection to a literary work.

Day One:
Students will come to class prepared to talk about what they learned about Aphra Behn and Thylias Moss. Ask students what they gathered about Thylias Moss and Aphra Behn and the type of books you think these authors would write based on this information.-Brief Discussion. Next, write this question on the board: If you were to write some form of narrative literature under an assumed name, what characteristics of the novel would give you away to your friends, family members, and others that know you rather well? Make it clear that it could be anything from a characters name to an event in the plot, to a saying the character says often, etc. If they are having trouble understanding, ask them how would they know if a certain celebrity was writing a book under an assumed name? What details or events would give them away? Have students respond to this question in their notebooks, this does not need to be discussed out loud.

(Focuses on Enduring Understanding and Essential question #3 and #5). Next, instructor will review the concept of a narrative and the characteristics of a narrative. After this has been reviewed, Instructor will introduce new characteristics of narrative writing that may only be seen in a slave narrative such as dynamic and complex characters, preface, consideration of audience, and penetrating language / lyrical songs. Students will then get into their assigned conversation groups of five or six and complete a K-WL- chart on slavery. After the chart has been completed, the groups will share and a brief discussion will occur based on the outcomes of the K-W-L chart. Still in their groups, students will read The Autobiography of Henry Parker from their supplementary reading packets (this can be done silently). After reading Henry Parker, they should discuss how the autobiography confirmed or disproved what they already knew about slavery. Following the discussion, the students will be instructed to take out a copy of the painting Forward by Jacob Laurence. Instruct students to discuss these three topics and have them write their answers down and make sure students understand that the painting that is in front of them represents the middle, or the climax of an untold story. What they think is going on in the painting? What do they think happened before the painting (beginning of the untold story) and what would that drawing look like? What do they think happened after the painting (ending of the untold story) and what would that drawing look like?

Students do not have to share this discussion, as the information has been discussed in small groups. Have students write a three paragraph narrative based on this information that is similar to The Autobiography of Henry Parker. If there is time students will share their narratives aloud. (Focuses on Enduring Understanding/ Essential Question #3 and #4). Assigned Readings: Begin Slave Moth and Soundtrack Log. Chapters 1 and 2 should be read for tomorrow. Assign pre-selected excerpts from Oroonoko alongside tonights readings.

Day Two:
Have students read their soundtrack logs aloud as a review of the two chapters and a discussion starter. Have a brief discussion and allow time for questions. Make sure no one is having difficulty reading and understanding

the verse used in the novel. Assign students into conversation groups and follow the exact same procedure as yesterday, only with a different set of questions. Make sure the groups recorder writes down everything that is discussed. Designate a time they have to complete this assignment in small groups and come back together for a whole class discussion. (Focuses on Enduring Understandings and Essential Questions 2, 4, 5, and 7.) Universal question: How do the readings from last night coincide with our prior knowledge and assumptions about slavery that we discussed yesterday? How do they differ from the narrative we read and the narratives we created yesterday? Other questions: 1. Do you think Varl has low self-esteem? Oroonoko? What evidence do you have of this? 2. Do you see anything in Slave Moth that is demonstrative of Thylias Moss? Anything in Oroonoko of Aphra Behn? 3. What do you think the Luna moth in Slave Moth symbolizes? What conclusions can be drawn from Behns description of Oroonokos physical features? 4. How would you feel if you were separated from one or both of your parents? How do you think it affects the characters that we are reading about? How would you feel if your parents were suppliers for the slave trade? How do you think this affects Oroonoko? How does this influence his character? 5. How do the differences in eras affect the difference in the two novels? Assigned Readings-Chapters 3 and 4 of Slave Moth. No Supplementary readings. If there is extra time remaining during the class period students may have SSR time where they begin the readings for tonights homework.

Day Three:
Have students read their soundtrack logs as a review of the two chapters and start off our discussion. Assign students into their conversation groups and have them write down one question they have about Slave Moth and one intellectual statement suitable for discussion. No rotation is necessary for this conversation group. Have students turn in their questions and their statements. Pass out Venn diagram sheets to the recorder of the conversation groups. Have students write down some similarities and differences between Varl and Oroonoko. Open up to whole class discussion about the differences between the two characters. Have students take out supplementary reading packet and open to Letters of Ignatius Sancho. Have students do popcorn style reading with guided instruction by teacher (meaning instructor should interject at certain points with brief questions to ensure

comprehension or ask various students for a brief summary of what is going on so far) After essay is read have all students write individual reflection journals on the essay and its relevance to previous readings. Journal: Based on what we have just read and what we have been reading what conclusion cans be made about the role of education in the life of a slave? Allow students to get back into their conversation groups to reflect on what each individual in the group wrote. Have select students share their thoughts, preferably one person from each group can share their reflections. (Focuses on Enduring Understanding/ Essential Question #1) Assigned readings for tomorrow: Chapters 5 and 6

Day Four:
Have whole class discussion starting with soundtrack log. Then introduce questions and discussion topics students wrote from last class. Have students discuss these issues. After discussion, ask students are they still having difficulty reading or liking the novel because of its verse form? This question should lead into a discussion about the different forms of literature and the audience the literature is written for. Have students consider the stylistics of entertainment literature (Danielle Steele, Omar Tyree) and its audience. Have students consider the stylistics of classical literature (Nathaniel Hawthorne, Thomas Hardy) and its audience. What differences do they see? Does the authors preferences and intent play a role in the depiction of a literary work? Ask students to consider the very beginning of Oroonoko, or the preface and what purpose did it serve? Have them look over other examples of prefaces from The History of Mary Prince, in the supplementary reading packet. Introduce the concept of an apostrophe and have students identify sections in Oroonoko, where apostrophe occurred and if Slave Moth, were to have apostrophes where would they occur and why? In class writing assignment: If you were to write a preface to Slave Moth, what would it say? Have students read these aloud and give feedback. (Focuses on Enduring Understanding /Essential Question #1, #3, #5, #6, #7). Assigned readings for tomorrow: Chapters 6 and 7

Day Five:
Open with sharing of soundtrack logs. Bring up the types of point of view that Slave Moth uses and that Oroonoko uses? What is different about them? Why do you think the author chose to write from the chosen perspectives? How does the point of view used affect you interpretation of the work? Which point of view do you prefer?

Start a discussion with these questions. Next, introduce Dear Diary Assignment, which will be due on Day 8. Discuss the theme of identity and its role in slavery and relate it to our discussion about point of view. Have students begin their Diary assignments in class, it will be mandated that at least one character that students write a diary entry for be from the perspective of Lusa and they can work on that one in class. They will be allowed to get into their conversation groups to discuss Lusa and the Mud Man and then start the diary assignment. The Dear Diary Assignment serves to help students to develop their thoughts and opinions about the novels characters and assesses their understanding of the impact slavery makes on different people and how it shapes their identity. The assignment: The students will write a diary entry from the perspective of another character besides Varl after every four chapters based on what was read in the three chapters up until Day eight. The diary entries should cover emotions, descriptions, and behaviors of the character as well as establish a relationship between the character portrayed and Varl. They will be due on Day eight of the unit plan and they will be given a brief amount of time in class to work on them (Focuses on Enduring Understanding/Essential Question #1, #3, #4, and #6) Assign Weekend Reading- Chapters 8 through 11

Day Six:
Open up with soundtrack log assignment. Have students get into conversation groups. Hand students a list of discussion questions to answer. Have the facilitator and the recorder rotate groups and take notes. Open up discussion questions to whole class. Any remaining time may be used for students to finish their diary assignments. Assigned reading for tomorrow: Chapter 12 and 13

Day Seven:
Open up with soundtrack assignment. Have students get into conversation groups. Hand students a list of discussion questions to answer. Have the facilitator and the recorder rotate groups and take notes. Open up discussion questions to whole class. Discuss whether or not chapter 12 resembles their initial thoughts of slavery? Why or Why not? Discuss. Any free time can be used for students to complete their diary assignments. Assigned Reading for Tomorrow: Finish novel

Day Eight:

Open up with soundtrack log assignment. Have whole class discussion about the novels ending. Did it surprise you? Did you wish it ended differently? Why or why not? Do you think Varl developed a sense of identity? Has your perspective of slave changed? Would you prefer to possess or be possessed? Do you think Varl would have been a different person if she had a different master? How? Why? Have students go back to their notes from the extensive anticipation questions they answered before they started the novel. Have any of their feelings about any of those questions changed? Have students go back to the biography and interview of Thylias Moss and discuss how she influenced the novel. Also ask them how do they think the novel would have ended if Aphra Behn wrote Slave Moth, based on what you know about her? How does Slave Moth compare to Oroonoko? How does it differ? Hand in diary assignment. (Focuses on Enduring Understanding/Essential Question #1, #2, #5, #7) Assigned Reading for Tomorrow: Supplementary Packet- Independent Weekly Article about William Henry Singleton, William Henry Singleton Narrative, Mary Norcott Bryan Narrative, and the Brief biography of Mary Norcott Bryan.

Day Nine:
Hand the recorder of each group entrance slips as they enter the class. Have students go immediately to their groups as they come in. They should use these slips to discuss and write down their answer to the following: 1. Who seems to be the audience for each narrative? 2. What do you think is each authors purpose for writing the narrative? 3. What were some of Bryans and Singletons important childhood experiences? 4. How does each author depict the relationship between slaves and slaveholders? 5. Reread the passages where each author writes about the abolition of slavery (Bryan, p. 27, 2nd paragraph; Singleton, p. 9, 1st paragraph). How does Bryans night of horror compare to Singletons description of Emancipation? 6. How did the events of the Civil War and Emancipation change each narrators life? All of the groups will also have three universal questions which should be as follows: 1. How have Bryans and Singletons values and experiences influenced how they chose to tell their stories? 2. How does each author feel about North Carolinas antebellum society, and where can you see that reflected in the narratives? 3. Can you find any common themes in the two narratives? Ask students to use examples from the texts to illustrate their responses.

Have groups come back and have a discussion regarding these issues as a whole class. After this discussion hand students Venn Diagrams and have them compare the authentic slave narratives they read last night with the historical fiction slave narratives we have previously read. They should focus on: Audience Level of Excitement in Plot Influence of Authors background on text How can Mary Bryant be compared to Oroonoko? How can Varl be compared to William Henry Singleton? What literary techniques helped you to form your opinions of these characters? (all 4) The role of the slave masters in Slave Moth, Mary Bryant, William Henry Singleton, and Oroonoko The role of education in the lives of the slaves and Mary Bryant in all the aforementioned novels

2. After Venn Diagrams have been completed, have students open up to: An Introduction To Slave Narratives. This can be read aloud popcorn style. After reading is finished students should be asked to share their thoughts on the piece and whether or not is an accurate description of the narratives they read for homework last night. (Focuses on Enduring Understanding/Essential Questions # 1, #2,#3,#4,#5,#6,#7,) Assigned Readings for tomorrow: Reread An Introduction To Slave Narratives and do a pre-write for tomorrows in-class group writing project. Tomorrows in class group writing project: An Introduction to Slave Narratives-Historical Fiction. This writing assignment should culminate our class discussion today with all of the discussions we have had previously. It should mimic the handout we read aloud today being three paged in length and having four primary sections: Value of the Project Historical Context of Slavery Literary Contexts for Historical Fiction-Slave Narratives Importance of This Project to the Nation/The Classroom

Day Ten:
Students will get into their conversation groups and create their own version of An Introduction to Slave Narratives Historical Fiction based on the article they read yesterday in class. They will use the whole period to produce an imitation of An Introduction To Slave Narratives by William L. Andrews, except that they will introduce the fictitious slave narratives that they have read instead of authentic slave narratives. We will need access to Microsoft

Word and printers as this is a formal writing assignment. (Focuses on Essential Questions and Enduring Understandings #1, #2, #3, #4, #7). Assign Weekend Readings- A Tempest (TCG Translation) by Aime Cesaire (69pgs.)

Day Eleven:
Large group discussion of A Tempest and how it compares to the other literatures we have read in this unit. All students will have read The Tempest by William Shakespeare prior to this unit. Note: The purpose of using The Tempest in this unit is not to go in-depth with Shakespeare or even delve into all of the concepts of The Tempest. The goal is to understand the character of Caliban and the portrayal of the slave in the Shakespearian era and how it compares to the adaptive version of A Tempest. Just as a refresher I will show the film version that accurately follows the play and provide an overall synopsis of the play along with the actual textual excerpts of specific scenes that I want students to focus on for this particular unit. Day eleven will be the day of viewing and all students will answer the following questions for discussion, finding the answers while watching the movie or taking notes to properly answer the questions for homework. If they cannot finish the assignment in class, they can finish it for homework because they will have the textual excerpts and the synopsis to work with. They should also be keeping track of all the differences they notice between the original and the adaptive version of the play. (Focuses on Enduring Understandings/Essential Questions #2, #3, #6, #7) The Tempest Questions When answering these questions there is another component for answering each question which is as follows. For each question, there should be a following question that is as follows: How is this particular situation addressed in Cesaires: A Tempest? Is it included in this version? Why or Why Not? 1. In Act 1, Scene2, Caliban curses Prospero and regrets the welcome he initially gave him; but by Act 2, Scene2, he has enslaved himself to a new master (the drunken butler, Stephano); comparing the language he uses in Act 1, Scene 2 to that he employs in Act 2, Scene2, explain the nature and state of Caliban's character. 2. Compare Prospero's treatment of Caliban with the treatment Ariel receives from Sycorax, Caliban's mother. Explore the parallels and contrasts between Prospero and Sycorax, Ariel and Caliban.

3. What is the effect of Caliban's remark at Act 1, Scene 2 lines: 350-351? He says that, if he had succeeded in his intent "to violate / The honor of" Miranda (347-48), he would have "peopled . . . / This isle with Calibans"; What does this line allow us to infer about Caliban? 4. Ariel's song in Act 1, Scene 2 and Caliban's at the end of Act 2, Scene 2 are both about change, but they are clearly very different lyrics. Consider the reason/motive each has for singing, the audience or listener (real or imagined) to whom each song is addressed, the nautre of the imagery, the tone, and the kind of change described. In light of all these parallels and contrasts, what bearing do the two songs have on the play's thematic development? 5. The question of Caliban's being taught to speak comes up both in Act 1, Scene 2 and in Act 2, Scene2; comparing the references to this subject in the two scenes, explain the importance of verbal language/speech in establishing relationships and/or identities in the play. 6. How does Caliban's behavior in Act Three, Scene 2, affect the audience's conception of him? Are his tactics justified? Are they wise? What would the members of the African Company say? 7. The masque's pagentry vanishes when Prospero is jarred back into the real-life consciousness that he must deal with Caliban's conspiracy. What do you make of this moment? How does it comment on the relationship between art (or, at any rate, Prospero's art) and revolution? 8. How does the outcome of the play for the European "bad guys" and for Prospero compare with the outcome for Caliban? Assigned Readings for Tomorrow: Csaire and Shakespeare: Two Tempests Author(s). Assignment: Read and pick two quotes from this article that you think are relevant and would like to discuss. Aime Cesaire biography and William Shakespeare Biography Assignment: Write a one-two page reaction paper that explains why you think each author wrote their versions of the play and how it relates to their personal lives based on the biographies you read. We will not discuss biographies in class as they should know what to look for when comparing and contrasting biographies.

Day Twelve:
Have students open up to the discussion questions for The Tempest that they answered yesterday, found in their supplementary packets. Have students quickly

get into their conversation groups and quickly recap their answer to these questions. Discuss answers in relation to the article they read for homework last night. Come back together as a whole group and let students present their findings. Finally, discuss which version of the play students liked better and why as a segue way for to share the quotes they chose from the article for last nights readings. Have students share their general thoughts or questions about the article. Now we will move onto a wrap-up activity for the unit called Group Survey of the unit by arranging chairs in a circle and passing a talking piece (stress ball, special rock, etc.) around the room giving each person an opportunity to say something. Everyone must answer a question. Ideally, the instructor should have as many questions as there are students. A sample of the Questions that will be asked are as follows: Group Survey Questions What have you learned from this overall unit? (Answers from this should be written on the last portion of the K-W-L- chart at this time) If you were given the opportunity to rewrite the narrative you wrote on the day you were introduced to this unit would you change it? What would you change and why? Which genre gave the most flattering perspective of slavery? Which genre gave the most degrading perspective of slavery? What have you learned about slavery from this unit? Which work did you like the most and why? Do you think that the authors background of the works that we studied influenced the outcome of the work? Is this a good or bad thing? If you were alive during the slave era, do you think you would have written a narrative? Why or Why not? What did you learn about the use of language and its role in literature from this unit? What insights do you gain from seeing things in different perspective? There may or may not be enough time to get to everybody in this period. Instructors should prepare for this by creating the questions on an Entrance/Exit slip and each student should be holding a slip with a written question on it in their hand while in the circle. If you sense there will not be enough time to go around the entire circle,

have students rotate slips before they are dismissed, so that no one will answer the same question twice. Have students perform this activity in their individual seats, responding on paper as soon as they come into the class the next day and collect. Assignment for tomorrow: Work on final project

Day Thirteen:
If Group Survey activity was not finished, finish it. Afterwards, students will be given entire period to work on their final project. Assignment for tomorrow: Work on final project

Day Fourteen:
Work on final project. Leave enough time for groups to present a brief overview of the chapter were assigned the two changes they made so that class can vote on which group they would like to see perform their assessment. Assignment for tomorrow: Finish final projects and bring whatever props, music, or materials you will need for tomorrow.

Day Fifteen:
Performance Day!!! Chosen group performs their production. Students may have food and drink.

Final Assessment: Dramatic Interpretation of Slave Moth with analysis.

Exploring Identity : The Comparison and Contrast of Perspectives of Slavery Using Varying Genres of Literature
Advanced Placement English Due Date: Last Day of Unit Total Points: 100 Grade Breakdown: Script: 45 pts Analysis: 50 pts Presentation: 5 pts

Instructions: You will be assigned a group of five to six people in which you will take a designated chapter from Slave Moth and transform the verse into dialogue. Therefore the chapter will now be an act in a play. It is required that you make at least two plot changes in your adaptation along with a detailed write-up as to why you made these changes. I will assign the chapter your group is responsible for transforming. Here are the requirements: A slave character from your screenplay needs to undergo an identity change by you and your group members changing their name. You will need to explain why and your explanation should include what you have learned about the co-relation between slaves, names, and identity through the readings we have done in this unit. Consider this example from Slave Moth: As long as he can himself my master
and make me call him that and calls me anything he wants to but Free the name Mamalee wanted to give me. Hurting me worse than if he would hit me (Moss, 61)

Please make sure that the changes you create are representative of someone in your group or a culmination of all of you. This needs to be explained in your explanation. Consider this example from about the character of Onahal from Oroonoko:
Onahal is a "decayed beauty," one of the "cast-off mistresses of the king," and now the caretaker of his newer and younger wives, whose job is to "teach them all the wanton arts of love" (18). Although she has been cast aside, she still smolders with passion, especially for Oroonoko's friend Aboan. There is perhaps an autobiographical element surrounding the character of Onahal, who helps the young lovers, Oroonoko and Imoinda, unite in the otan (the king's seraglio--forbidden to other men) while she makes love with the handsome Aboan. When Behn wrote Oroonoko, two years before her death in 1690, she also was whispered about as a fading beauty who was practically destitute. (Gradesaver.com)

The adapted version of the novel should be no less than the amount of pages that was in the chapter you were assigned. If your chapter was 13 pages long, your version should be a minimum of thirteen pages long. (Everyone will have roughly the same amount of work, which is why I designated the chapters). The length of the analysis depends on the length of your script; however the analysis needs to cover all points mentioned unless otherwise mentioned.

If there is a conversation between slave and slave owner please make sure the dialect reflects that. If there is not an exchange between slave and slave owner, please find some way to incorporate what you have learned about language and its role in the portrayal of slaves in literature, as you will have to demonstrate this knowledge in your explanation. For example, you could write that the main character hummed song lyrics and the lyrics should be lyrics from a fitting slave hymn. Then in your explanation you would write the relevance of slave hymns to the portrayal of the slave figure in literature. Please consider Caliban when incorporating this requirement if you are having trouble fulfilling it. Some additional research may be required for this component.

Be sure to include the time period of your adaptation, it does not have to be from the same time period as Slave Moth, but if it isnt this should be obvious without me having to look at the date you say it was published. You should explain why you chose the time period that you chose and what you did to the screenplay to portray the particular time period you are writing about. Note: If you change the time period, this does not count as one of the two changes.

The role of education should be addressed in everyones screenplay. If your assigned chapter does not mention education, one of your required changes should make it involve education. If your chapter already involves education, your groups stance on the matter should be made crystal clear through the incorporation of one or more of the characteristics of slave narratives that we discussed. Your explanation of this component should include your knowledge of the power dynamics associated with education of slaves.

Your screenplay should contain some form of apostrophe, you can do this by creating a preface before the script or by interjecting throughout the script. Your explanation of this should coincide with the purpose of third person point of view or the purpose of preface in slave narratives.

Lastly, the final part of your explanation should be a review of the adapted narrative through the perspective of Thylias Moss based on what you know about her. What would she like? What would she dislike? Why?, etc. This section should be written as though Thylias Moss were writing it and it should be in first person point of view. This section should be a least a paragraph.

All projects need to effectively meet the above requirements for a minimum of 85%. Higher grades will be determined by fluency of analysis and creativity of adaption.
All groups will present a brief summation of the chapter they had and the changes they made while focusing more on the presentation of their analysis to the class. Students will vote on which groups s adaptation they would like to see performed. The winning group will perform their play on Production Day. The performance is meant for fun and acting will not be assessed. If the group who wrote the script doesnt want to perform it, other groups should feel free perform their story. Later in the year the story will be submitted to the drama club for production. Anyone who attends the production or stars in it, will receive extra credit. Good Luck!